Liber psalmorum Hebraice, cum versione Latina Santis Pagnini. With woodcut print…

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Liber psalmorum Hebraice, cum versione Latina Santis Pagnini. With woodcut printer's mark. Basel, König 1648. A-X(1-12), Y(1-11). 12°. Central hardcover in central slipcase (somewhat rubbed and bumped, slipcase partially scuffed). Judaica Liber psalmorum Hebraice, cum versione Latina Santis Pagnini. With woodcut printer's mark. Basel, König 1648. A-X(1-12), Y(1-11). 12°. Central hardcover in central slipcase (somewhat rubbed and bumped, slipcase partially scuffed). VD 17 3:013812P - USTC 2011942 - With Hebrew-Latin parallel text. The Latin translation by Santes Pagnino (c. 1470-1541), the traveling Orientalist and Bible translator of his time (cf. LTHK VII, 873). - Some browning and brownstaining, some marginal wear, several leaves with backed defects. Overall in good condition. With woodcut printers mark. Cont. leather binding in cont. leather slipcase (somewhat stronger rubbed a. bumped, slipcase partly somewhat scuffed). - Slightly browned and brownspotted, some marginal wear, some pages with backed defects. Overall in good condition.

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Liber psalmorum Hebraice, cum versione Latina Santis Pagnini. With woodcut printer's mark. Basel, König 1648. A-X(1-12), Y(1-11). 12°. Central hardcover in central slipcase (somewhat rubbed and bumped, slipcase partially scuffed). Judaica Liber psalmorum Hebraice, cum versione Latina Santis Pagnini. With woodcut printer's mark. Basel, König 1648. A-X(1-12), Y(1-11). 12°. Central hardcover in central slipcase (somewhat rubbed and bumped, slipcase partially scuffed). VD 17 3:013812P - USTC 2011942 - With Hebrew-Latin parallel text. The Latin translation by Santes Pagnino (c. 1470-1541), the traveling Orientalist and Bible translator of his time (cf. LTHK VII, 873). - Some browning and brownstaining, some marginal wear, several leaves with backed defects. Overall in good condition. With woodcut printers mark. Cont. leather binding in cont. leather slipcase (somewhat stronger rubbed a. bumped, slipcase partly somewhat scuffed). - Slightly browned and brownspotted, some marginal wear, some pages with backed defects. Overall in good condition.

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MARTINEZ DE VAUCQUIER (Matthias). Dictionarium tetraglotton novum, in quo voces Latinae omnes, & Graeca his respondentes cum Gallica & Teutonica singularum interpretatione, ordine alphabetico proponuntur [...] Amsterdam, Boom, 1698. Fort in-8 on contemporary ivory vellum, handwritten title on spine. Engraved frontispiece.

Estim. 4 000 - 5 000 EUR

PEROTTO, Nicholas. Cornucopiae linguae Latinae. Venice, Baptista de Tortis, October 19, 1490. Folio. 315x214 mm. Eighteenth-century binding in half-bock with gold title within cartouche on spine. Papers [16], 291. Markings: A-B8 a-z8 &8 [cum]8 [rum]8 A-O5. Typographic mark to paper N6v. Explicit on c. N6r: "Nicolai peroti pontificis Sypontini eruditissimi uiri Cornucopiae seu Commentariorum linguae latinae. Venetiis, per Baptistam de Tortis, 1490 die xix. octobri." On cc. O1-6: "In ... proemium Plynii commentariolus ... Ad Antonius Moretus." Roman and Greek characters. Spaces reserved for initials, some with guide letters. Ex libris "A. Damevino" pasted to spine and counterplate. On lower margin of page 1 ancient handwritten possession note "Est sancti Bartholomaei Astensis". Last blank paper O6 is missing. Specimen with wide margins. Rare and important third absolute edition and first with commentary on Pliny's Natural History. The Cornucopiae is the most important work of the celebrated humanist from Sassoferrato: begun as a commentary on Martial, it turned into a vast philological repertory of the Latin language on which Perotto worked for the rest of his life. It is a summa of humanistic knowledge, a source for the lexicons of Ambrogio Calepio and Robert Estienne, full of linguistic and erudite discussions, as well as thousands of quotations from ancient authors, some of them not handed down elsewhere. In the proem, his nephew Pyrrhus recounts that his uncle had composed the work for his own use: he allegedly copied it secretly, adding commentary on Martial's most obscene verses and accompanying it with summaries of epigrams, as well as rubrics and indexes. BMC: "The Commentariolus in Plinium is here for the first time appended to it." Folio. 315x214mm. Quarter calf binding from the 18th century, gilt title within a cartouche on the spine. Leaves [16], 291. Collation: A-B8 a-z8 &8 [cum]8 [rum]8 A-O5. The last blank leaf O6 is missing. Printer's device on leaf N6v. Explicit to leaf N6r: "Nicolai peroti pontificis Sypontini eruditissimi uiri Cornucopiae seu Commentariorum linguae latinae. Venetiis, per Baptistam de Tortis, 1490 die xix. octobri". At leaf O1-6: "In ... proemium Plynii commentariolus ... Ad Antonius Moretus." Roman and Greek type. Spaces for Initials, some with guide letters. Bookplate "A. Damevino" glued to the spine and inside cover. On the lower margin of page 1 an ancient handwritten note of ownership "Est sancti Bartholomaei Astensis". Copy with wide margins. Rare and important third absolute edition and first with the commentary on Plinius' Natural History. The Cornucopiae is the most important work of the famous humanist of Sassoferrato: begun as a commentary on Martial, it turned into a vast philological repertoire of the Latin language on which Perotto worked for the rest of his life. It is a summa of humanistic knowledge, source of the lexicons of Ambrogio Calepio and Robert Estienne, rich in linguistic and erudite discussions, as well as thousands of quotations from ancient authors, in part not handed down elsewhere. In the proem, his nephew Pirro recounts that his uncle had composed the work for personal use: he allegedly copied it secretly, adding the commentary to the more obscene verses of Martial and providing it with summaries of the epigrams, as well as rubrics and indexes. BMC: "The Commentariolus in Plinium is here for the first time appended to it."

Estim. 60 000 - 80 000 EUR

SCHEDEL, Hartmann. Liber Chronicarum. Registrum huius operis libri cronicarum cum figuris et ymagibus ab initio mu(n)di. Nuremberg, Anton Koberger for Sebald Schreyer and Sebastien Kammermaister, July 12, 1493 In-folio. 425x280 mm. Parchment binding on wooden boards, title block on smooth spine, renewed guards. Papers 325: [20, Title and Tabula], 300 numbered I-CCXCIX - [1], [5 'De Sarmacia Regione']. There are two Colophons, on paper 266r (June 4, 1493) and on paper 300v ("Anthonius Koberger Nuremberge impressit," July 12, 1493). Papers CCLIX-CCLXI, with current numbering and title, are blank having been reserved for reader's annotations and additions, as evidenced by paper CCLVIII v. Over 1800 figures of different sizes imprinted in woodcut in the text. One large map of Europe on two unfolded pages (299v-300r). In recto of first unnumbered paper, title impressed in woodcut. Last blank map is missing. Slight brown staining on world map, trace of gora on central part of map of Europe. Paper 74, small hole on Pavia print; 75, small lack upper right corner; 169, reinforcement with braga on inner margin; 175, small hole in text; 184, cut. Small restoration on lower margin of paper 206. Reinforcement in some early papers and last five sheets, with traces of moisture. Overall good copy. First Latin edition. Very rare beautifully figured incunabulum. A masterpiece in the history of printing, the work contains more than 1,800 superb woodcut-engraved illustrations by Michael Wolgemut et Wilhelm Pleydenwurff. In addition to occupying a key place in the history of book illustration, the Nuremberg Chronicle offers a wonderful insight into Renaissance knowledge and humanistic understanding of the world in the 15th century. The "Nuremberg Chronicle" is a year-by-year account of important events in world history from creation to the year of publication, including references to contemporary events such as the invention of printing in Mainz, the exploration of Africa, and a possible trip in 1483 to America mentioned on folio 290v. van Egmond: "As a product of humanism, the Liber chronicarum is a synthesis of religion, empiricism and classical antiquity. It is no wonder that of all people Schedel published the famous chronicle of world history. After all, he lived right in the center of humanism: Nuremburg. Schedel grew up in the transitional period from the handwritten to the printed book and became an ardent book collector. ... The Nuremburg humanism was characterized by research into scientific, astronomical and astrological issues. ... In the Liber chronicarum Schedel attempts to join together the Biblical and profane history, with lots of emphasis on the descriptions of cities and countries. For instance, in the various eras in world history he has the founding of cities run parallel with Biblical history; that is why the descriptions and pictures of cities are spread throughout the entire book. "The Nuremberg chronicle is celebrated for its beautiful and numerous woodcut illustrations: it contains numerous representations of cities, 29 on double pages, a large table with coats of arms and blazons (CLXXXIII-CLXXXIIII), a world map (XIII) and a double-page map of Europe at the end. It also includes two important double-page maps: a beautiful world map based on Mela's Cosmographia of 1482 (see Shirley 19) and a map of northern and central Europe by Hieronymus Münzer (1437-1508) from Nicolas Khyrpffs. The world map is one of only three 15th-century maps showing Portuguese knowledge of the Gulf of Guinea from about 1470. It is therefore believed to be the first modern map of this region to appear printed (see Campbell, The Earliest Printed Maps, 1472-1500, 1987).As was often the case with books of this period, some woodcuts appear in the text more than once, with only the captions being changed: the 1809 illustrations are imprinted from 645 woodcuts, with numerous biblical scenes and portraits of saints, emperors, kings and princes: this copy includes on paper 169v the famous portrait of "Pope Joan" ("Joannes Septimus"), which has been removed or defaced in many copies. The printer, Anton Koberger used nineteen existing woodcuts from the Postillae (1481), while the other woodcuts came from the workshop of artists Michael Wolgemut and Wilhelm Pleydenwurff. The young A. Durer, who was Wolgemut's pupil from 1486 to 1489. The author's name appears on paper CCLXVIr: "collectum breui tempore auxilio doctoris hartmanni Schedel." Brunet 1, 1860; HC *14508; BMC II, 437; BSB-Ink. S-195; Bod-Inc. S-108; Goff S-307; ISTC is00307000; Olschki, 1954, no.557.See Adrian Wilson, The Making of the Nuremberg Chronicle (1976); S.C. Cockerell's count, Som

Estim. 6 000 - 7 000 EUR

FINÉ, Oronce. De Mundi sphaera, sive Cosmographia, primave Astronomiae parte, Lib V. Paris, Simon de Colines, 1542 Folio. 310x215 mm. Coeval calf binding, gilt fillets on plates, gilt cuts on three sides and 8 brass tacks. Renewed guards. 1 blank, 6 unnumbered sheets, including Frontispiece and a full-page engraving, 122, 2 blank. 92 engravings and vignettes in text. Defects to binding, lightly browned internally, sporadic blooming, old hand marginalia, some pages with pen strokes in white margin. Rare separate first edition of Oronce Finé's Cosmographia. This is an expanded and modified version of the third part of the Protomatesis, published in 1532. This work consists of two parts, the first devoted to cosmography and the second to trigonometry. In this treatise the mathematician, astronomer and cartographer Oronce Finé gives instructions for making maps using the south of France as an example and describes in detail three methods for projecting a map of the world onto a plane surface. DSB notes about the first part: " the description of the fixed celestial sphere used for reference, essential ideas concerning the astronomy of the 'primim mobile' (right and oblique ascensions and the duration of diurnal arcs) " The rich illustration consists of a superb title page decorated with a large frame depicting the liberal arts, a large full-page table depicting Urania and the author, and 92 demonstrative figures, 25 of which appear here for the first time. Mortimer: " Of the eighty-nine woodcuts, sixty-four are the original blocks designed by Finé for the 'Cosmographia' section of the 'Protomathesis'. Sixteen of the 'Protomathesis' blocks were dropped or replaced. "Mortimer, French, 226; Brun, p. 189; Renouard, Colines, pp. 358-359. Folio. 310x215 mm. Contemporary calf binding, gilt rules on covers, gilt edges on three sides and 8 small brass nails. Renewed endpapers. 1 blank sheet, 6 unnumbered sheets, including the title page and a full-page engraving, 122, 2 blanks. 92 engravings and vignettes in the text. Binding defects, internally some browning and minor foxing, marginalia by old hand, some pages with pen strokes to white margin. Rare first separate edition of Oronce Fine's Cosmographia. It is an expanded and modified version of the third part of the Protomatesis, published in 1532. This work is composed of two parts, the first dedicated to cosmography and the second to trigonometry. In this treatise, the mathematician, astronomer and cartographer Oronce Finé gives instructions for drawing maps using the south of France as an example and describes in detail three methods for projecting a map of the world onto a flat surface. DSB notes regarding the first part: " the description of the fixed celestial sphere used for reference, essential ideas concerning the astronomy of the 'primim mobile' (right and oblique ascensions and the duration of diurnal arcs) " The rich illustration is composed of a superb title in frontispiece decorated with a large frame in which the liberal arts are depicted, a large full-page plate depicting Urania and the author and 92 demonstrative figures, of which 25 appear here for the first time. Mortimer: "Of the eighty-nine woodcuts, sixty-four are the original blocks designed by Finé for the 'Cosmographia' section of the 'Protomathesis'. Sixteen of the 'Protomathesis' blocks were dropped or replaced."

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